violin concerto


The concerto is built on a conflict of several antagonistic forces. For instance, one is the subjective human world, which is represented by the violin while another is the objective world represented by the orchestra. The composer believes that the main vehicle of dramatic development lies in a conflict, thus, each movement is built on contrasting (antagonistic) moods and characters.  
The concerto, which is written in the cyclic form, revolves around two main themes and explores their duality. The themes are transformed from movement to movement, at times appearing as the opposites of their original statement.
The experimental Style of the first movement (Prologue) alludes to story-telling and supplies an enigmatic beginning to the whole piece. The third movement (Romance) works as the antagonist to the second movement (Scherzo minaccioso.) The climactic point of the concerto is reached in the fourth movement (Toccata) again followed by its opposite, which bears the final statement (Reflection.) Here lies the key to the entire concerto. It alludes to a mirror, reflecting on both the outside world and the complexity and sensitivity of the inner world and the mysteries of death and immortality.

                                                                                                                                                      Roy Jacobs, PHd



"Experiencing the composer and pianist Arsentiy Kharitonov playing his concert Études opus 44, one can imagine the great representatives of this genre of music listening wide-eyed, open-mouthed and spellbound.  

Kharitonov’s Études are not only in the tradition of their great forerunners but are on a par with them.

These are vivid contemporary works -- breathtaking, fiery and magical. A rather unique experience these days."

                                                                                                                                         Nikolaus Schapfl, composer

"As a pianist, first I would like to emphasize the effectiveness of the pianistic writing - sometimes very demanding and virtuosic writing, but the virtuosity that never separates itself from the poetic idea and from always unitary and cohesive musical structure. This union of physical gesture and composer’s intention allows the performer to be able to confront the technical difficulties of Kharitonov's pieces in a musical way, without having to expose himself to "acrobatic" or "sport" pianism. After the commitment in learning Kharitonov's pieces, one is fully rewarded with the discovery of a poetic world among the most fascinating and original music language."

                                                                                                                                         Andrea Vivanet, pianist



Violin Ensemble





"How I came to find the brilliant Russian composer and pianist Arsentiy Kharitonov is a story that can only be told in the 21st century. It was on YouTube, a video of him playing one of his dynamic and fascinating Etudes for Piano, which I instantly loved and wondered, “Who is this guy and will he write a piece for cello?” So I decided send him a message to see if anything would come of it. And something did! A few months later an incredible piece was in my inbox. Since he lives in Dallas, we spent several months sending videos and voice recordings back and forth to get it into shape, and when recording time came around he flew up to Minneapolis for the session (I happened to get a bad case of tonsillitis, but the show must go on!). Reminiscenza is dark, passionate, yearning, defiant piece. It seems to reach out from a different time and shake your soul. What an honor it is to play it and to have also gained a friend. Thank you, Arsentiy!"

                                                                                                                                              Cicely Parnas, cellist

Four Vignettes

I first knew  Kharitonov as an outstanding piano virtuoso and only later realized that he wrote fantastic music. His writing is of the highest caliber. He creates musical landscapes of intensity and humor, vibrancy and nostalgia, mystery and passion. I began to commission pieces for my Violin Ensemble “ViolUNTi” and also for violin solo. The Four Vignettes started from the third vignette, Albumblatt (Album Leaf). When I heard it first I fell in love with it. Later, three more short pieces joined it, framing it in the best possible way.

                                                                                                                                             Julia Bushkova, violinist





Sonata for piano Op.50 is perhaps the most ambitious piano work by Kharitonov. It is constructed in four movements:

I. Allegro risoluto, II. Lento, III. Tarantella, IV. Marcia Funebre.

First movement is written in sonata form. The exposition presents a conflict of several opposing themes that later assures an immense dramatic expansion of musical material throughout the development. The composer resorted to using  contrapuntal writing in fugato and in the following basso ostinato sections to achieve a colossal dramatic climax in the recapitulation. In the midst of all the authoritative dissonances, a beautiful second theme would most certainly enchant the listener.

Second movement alludes to a melancholic nocturne  with a great sense of nostalgia. However the composer does not leave it at piece and music finds yet new heights and depths in the world of unconscious with its powerful images, of which some are truly frightening.

Third movement is called Tarantella. This fast dance somewhat restores the balance of action with its energetic articulate character. It has clearly the most tonal tendencies amongst all the movements. Supposedly festive C major ends the movement with hopes to hear the following Finale in brighter colors and perhaps triumphant character.


Yet the final movement of the sonata is nothing less than a funeral march. The Marcia Funebre consists of several improvisations/variations on a walking bass. It results in yet another enormous climax where various  materials from previous movements appear. Sonata ends with distant mournful bell-like sounds. Other Russian composers come to mind with their bell symbolism: Mussorgsky's Boris Godunov, Rachmaninoff's famous intro to his 2nd piano concerto and "The Bells", as well as Prokofiev's 2nd piano sonata and 2nd piano concerto respectively.


The sonata by Kharitonov exhibits a vast range of musical characters, transcendental pianism, exceptional colors, and an unforgettable emotional charge.

The duration is approximately 20 minutes.

                                                                                                                                            Charles Boedig, PhD

On the Ferry to Stockholm

Perhaps, one of the few programmatic pieces by Kharitonov. Full of wit, unusual colors, and transcendental virtuosity - On the Ferry to Stockholm depicts composer's unforgettable experience traveling from Helsinki to Stockholm by sea.


Dedicated posthumously to Robert Bushkov, Monologues for Solo Trumpet in C, Op.41 represent four distinct characters. Being very demanding technically, this work offers a spectacular range of colors, musical discoveries, and immense virtuosity. Monologues carry lots of symbolic motifs that play their important role in the construction of a big picture.

Other Projects
Fahrenheit 451
The Story of Margot.jpg